– An essay exploring the discovery of Tutankhamun’s tomb by Howard Carter and its effects on the Art Deco movement in 1920s Architecture in Britain
This essay will explore the adoption of Egyptian design and iconography into western modern architecture during the early 20th century, with a focus on the discovery of Tutankhamun’s tomb and the impacts this had on art deco architecture. I will explore Liverpool, England in the 1920s, looking at the Queensway tunnel constructed in 1925-1934. I have chosen this because of the vast display of Egyptian motifs in the art deco movement in Liverpool. I will begin this essay exploring the discovery of the tomb and Egyptomania, next looking at the art deco movement design and social standing, leading into the adoption of Egyptian motifs. Then I will explore in detail the case study, concluding with final remarks about the use of Egyptian motifs in popular culture.
Writing of art deco tends to focus on north America, specifically New York which for many is the epicentre of this style overlooking the art deco of Europe, so I will shed light on the architecture of art deco Britain. The literature surrounding Egyptomania is varied and extensive, the report by Howard Carter recounting his discovery can’t only be described as an academic source but a piece of literature. His writing is riveting and captivates the reader, it encompasses the publics feelings at the time. The Queensway tunnel has little literature, and I will use my first-hand accounts including my own photographs.
The appropriation of Egyptian design and iconography was present before the art deco movement and marked key historical events. The invasion of Egypt by the French, led by Napoleon in 1798 marks the first wave of Egyptian revival architecture in the west lasting until 1835. Napoleon took with him a scientific expedition and a series of publications were released in the years after spanning 1809 – 1822,[1] this marks the first awareness of ancient Egyptian architecture for the mainstream public. The second wave of Egyptomania resulted from a greater awareness of ancient Egypt by the completion of the Suez Canal in 1869.[2] At this point the main influence is seen in jewellery design as the Art Nouveau scene uses the scarab beetle and palms are wound into floral motifs.
At the turn of the 20th century there was a slew of European archaeologists studying in Egypt. One being British architect Howard Carter, after 6 seasons in the Valley of the kings Carter embarked on what was to be his final season. Carters team was clearing out the findings of workmen’s huts presumed to be used in the making of the tomb of Rameses. As he records in the book ‘the Tomb of Tutankhamun’ carter ‘ Hardly had I arrived on the work next morning… the unusual silence, due to the stoppage of the work, made me realize that something out of the ordinary had happened…a step cut in the rock had been discovered underneath the very first hut.’[3] Upon discovery the earth was cleared revealing steps down to the entrance of a tomb. Word spread fast across the globe and many other academics arrived on the site for exploration. The discovery of the tomb of Tutankhamun reached out the field of archaeology and into the mainstream not due to the notoriety of Tutankhamun who was overshadowed by his father in law and arguably the most well-known Egyptian kings Akh en Aten [4]. However, what produced the most buzz was upon the discovery that the tomb remained mostly untouched with an abundance of artifacts unlike any other tomb, and previous robbing’s had little impact. In the chapter a survey of the antechamber Carter details 100 out of 700 objects, reporting an abundance of gold possessions, statues, carvings, a throne and pedestal, and many rich materials[5]. Carter himself likens it to a museum and the awe he has for this discover arises a significant relationship where the artifacts transcend being just objects. There is a sense of grandeur and opulence in the way Carter writes which would captivate those back in Europe.
Egyptomania given the name ‘tutmania’ in the aftermath of the tomb’s discovery, is the explosive fascination of ancient Egypt, the publications by Carter show how ancient Egypt was so easily fed into the imaginations of the Europe and Northern America.It revealed how Egyptian sovereigns may have been and lived, bringing the world of Egyptology into the political and expressive cultures [6]. The motifs found their way into music, theatre, cinema, fashion, furniture, and architecture however when discussing this we should be aware of the orientalism and appropriation of the designs, scholar Ronald H. Fritze details “although many people are interested in the history of ancient Egypt, more people are captivated by the Egypt of myth and legend.” [7] With spiritualism being at a peak in public consciousness the association of ancient Egypt and immortality amplified 'Tutmania'.[8]
Ancient Egyptian architecture can be summarised into 5 key design elements; First is the use of scale, being monumental and monolithic, although most ancient Egyptian buildings would not have been so large but academia in the 1900s prioritised this, and that is the lens in which we view ancient Egypt today. The second is battered walls, the tapering in of walls as they increase vertically, which acts as support for the walls. The third is the use of columns, such as papyriform columns, found in the open and closed styles and are imitations of the papyrus marsh plant that grew in ancient Egypt. The fourth element is the cavetto cornice which runs along lintels and roof lines, this quarter ellipse typically repeats vertical lines. The fifth design element is large doorways, with battered framings and these are typically post and lintel construction[9]
Art deco design was present in the west in the 1920s, its predecessor was the Art Nouveau movement which featured floral patterns, curved organic forms, and exposed wood. In contrast Art Deco used geometric patterns with angular and stylised forms. Common materials included Bakelite, vita-glass, jade, ivory, obsidian, silver, gold, and chrome. [10] At the end of WW1, The United States of America was experiencing an economic boom, an in what we call now the roaring 20s, mass city growth occurred, and the future was viewed with optimism. Looking back at ancient Egypt people saw a civilisation which exuded wealth, mysticism, this seemed fitting for the politics of 1920s New York. Whereas in Europe struggling socially and economically after the turmoil of WW1 the people felt let down by the turn of the century and looked far afield for something new, what they found was the design of ancient Egypt and American art deco.
Egyptian motifs found their way into an array of art deco buildings, the theatricality and mysticism of ancient Egypt made it perfect for theatres and cinemas, typically with excessive embellishments (see figure 1). It was also used in commercial buildings which included bright eye-catching colours they used exaggerated cavetto cornices and winged sun disks. More serious buildings included banks, federal buildings and the Queensway tunnel which utilised monolithic forms of ancient Egypt. Typically lacking colour, they would’ve used, but including large entrances, battered walls, and simplified papyriform columns. All these choices can be summarised as presenting the brand as luxury and with stability, they tapped into ideas of power around Egyptian architecture as it is quite an imposing architecture in scale and design and is associated with the supreme power of the pharaoh.
Figure 1 Graumans Theatre, Hollywood
Before discussing the Queensway tunnel context of the city is necessary. Liverpool is a dock city and boomed in size and economics during the 18th century slave trade, then in 1850 the city built the first major city link via railway in the UK with Manchester. But in the early 20th century the city declined with the closure of the dock yards.[11] The Queensway tunnel scheme which would connect Liverpool to the Wirral projected modernity and new infrastructure, the aesthetics would need to match this. Something that would show Liverpool as a place that moves forward and does so with style and wealth contrary to the state of the city but would look to what Liverpool could be. Herbert J. Rowse was the architect for the project, it is unknown whether it was an intentional decision to use art deco and Egyptology to portray wealth, power, and ambition although there is a distinction between this and the other projects, he worked on which were mainly neoclassical in style.
The Queensway scheme is a large project with lots of buildings dotted throughout the city’s waterfront so I will focus on the St Georges Dock ventilation shaft and office building. The ventilation shaft stands as a large obelisk protruding out of the 5 floors of offices below. Running up each face are 2 vertical elements referencing the papyriform columns of ancient Egypt however they are stylised, angulated, and hold no structural purpose. Running along the top of this obelisk form are smaller versions of the flat papyriform columns below, from a distance they almost mimic the vertical lines of the cavetto cornice.
Herbert enlisted Edmund Charles Thompson who wanted sculpture to play a vital role in the design as well the recent archaeological discoveries in Egypt[12]. Around the building are multiple carved figures mimicking the artwork of Egypt although the figures are front facing which contradicts what we find in Egypt. Thompson designed ‘Speed – the modern mercury’ (see figure 3) the 7m statue symbolises modernity, swift and expeditious transport. It is mounted on a plinth flanked with the heads of two back-to-back winged horses, and to reinforce the Egyptian motifs they are separated by a central pyramid. The pyramid mirrors the triangular shape which sits under another extracting plinth influenced by the cavetto cornice, under this is an art deco’s take on the winged sun disk.
Figure 2 St Georges ventilation shaft and office building
Figure 3 Speed – the modern mercury
The depiction of winged horses is interesting because as Tatomir suggests the archaeological evidence of the horse are connected to the Hyksos invasion and were not in the dynastic period prior. [13] So, the winged horse is not a symbol found in ancient Egypt but that of Greek and Assyrian mythologies. St George’s dock ventilation shaft is therefore an amalgamation of ancient cultural motifs showing how the art deco movement had no qualms about implementing different motifs into a mostly Egyptian building. This can be seen as orientalism whereby the west takes groups of different people and views them all the same, I cannot say whether this is intentional or not in this circumstance as references of Herbert are difficult to find. But is important when considering how ancient architecture has impacted art deco.
Figure 4 Sun disk on toll booth
Figure 5 Sun disk at tunnel entrance
Figure 6 Winged sun disk on St George’s dock ventilation building
The winged sun disks used in ancient Egypt using above doorways and were extremely colourful detailed designs, they’re all over the Queensway tunnel found on the wall’s spandrels, above doorways and above the tunnel’s entrances. As seen in figure 4 the design has been reduced to angular forms, the disk frequently simplified into a triangle and the wings stylised.
To conclude my findings these ancient Egyptian motifs were used in art deco to exude wealth, social standing, and modernity, whilst removing the original cultural significance of these designs in ancient Egypt. This occurred because of the discovery Tutankhamun’s tomb which presented vast riches, most notably the gold death mask of Tutankhamun, causing a buzz of interest at the forefront of cultural discussions. The Queensway tunnel occupied the Egyptian motifs into the art deco and adapted them to create something new and different rather than creating a likeness.
FIGURES
Figure 1. Four-page feature in American Theatres of Today Volume 1, 1927. Reissued by the Theature Historical Society of America 2009
Figure 2. Grace Power, St Georges ventilation shaft and office building, Photograph, Liverpool, 2023
Figure 3. Grace Power, Speed - the modern mercury, Photograph, Liverpool, 2023
Figure 4. Grace Power, Sun disk on toll booth, Photograph, Liverpool, 2023
Figure 5. Grace Power, Sun disk at tunnel entrance, Photograph, Liverpool, 2023
Figure 6. Grace Power, Winged sun disk on St George’s dock ventilation building, Photograph, Liverpool, 2023
REFERANCES
[1] Medina-Gonzalez 2003. Views of Ancient Egypt since Napoleon Bonaparte: Imperialism, colonialism, and modern appropriations
[2] McKercher and Fazzini, "Egyptomania: Sphinxes, Obelisks, and Scarabs."
[3] Carter and Mace, In The Tomb of Tut-Ankh-Amen: Discovered by the Late Earl of Carnarvon and Howard Carter, 86–96.
[4] Carter and Mace, In The Tomb of Tut-Ankh-Amen: Discovered by the Late Earl of Carnarvon and Howard Carter, 41–49.
[5] Carter and Mace, In The Tomb of Tut-Ankh-Amen: Discovered by the Late Earl of Carnarvon and Howard Carter, 86–96.
[6] Colla. Conflicted Antiquities: Egyptology, Egyptomania, Egyptian Modernity.
[7] Fritze, Egyptomania: A History of Fascination, Obsession and Fantasy, 245-264
[8] Brier, Egyptomania! Archaeology 57, 16–22.
[9] Riggs, Ancient Egyptian Art and Architecture: A Very Short Introduction,
[10] Britannica, "Art Deco."
[11] Britannica, "Liverpool."
[12] McKiernan and Thompson assisted by George T. Capstick, Speed – the Modern Mercury 1931, Pages 429–430
[13] Tatomir, The presence of horse in ancient Egypt and the problem of veracity of the horseshoe magic in the ancient Egyptian folklore and mythology, 321-340
BIBLIOGRAPHY
Brier, Bob. “Egyptomania!” Archaeology 57, no. 1 (2004): 16–22. http://www.jstor.org/stable/41780856.
Britannica, T. Editors of Encyclopaedia. "Art Deco." Encyclopedia Britannica, December 28, 2023. https://www.britannica.com/art/Art-Deco.
Britannica, T. Editors of Encyclopaedia. "Liverpool." Encyclopedia Britannica, accessed December 28, 2024. https://www.britannica.com/place/Liverpool-England.
Carter, Howard, and A. C. Mace. “THE FINDING OF THE TOMB.” Chapter. In The Tomb of Tut-Ankh-Amen: Discovered by the Late Earl of Carnarvon and Howard Carter, 86–96. Cambridge Library Collection - Egyptology. Cambridge: Cambridge University Press, 2010.
Carter, Howard, and A. C. Mace. “THE KING AND THE QUEEN.” Chapter. In The Tomb of Tut-Ankh-Amen: Discovered by the Late Earl of Carnarvon and Howard Carter, 41–49. Cambridge Library Collection - Egyptology. Cambridge: Cambridge University Press, 2010.
Charles, Victoria, and Carl, Klaus H.. Art Deco. New York: Parkstone International, 2013. Accessed December 28, 2024. ProQuest Ebook Central.
Curran, Brian A. The Art Bulletin 78, no. 4 (1996): 739–45. https://doi.org/10.2307/3046219.
Elliott Colla. Conflicted Antiquities : Egyptology, Egyptomania, Egyptian Modernity. Vol. [Open access version]. [N.p.]: Duke University Press Books, 2007. https://search-ebscohost-
Elliott, Bridget. “Art Deco Worlds in a Tomb: Reanimating Egypt in Modern(Ist) Visual Culture.” South Central Review 25, no. 1 (2008): 114–35. http://www.jstor.org/stable/40040022.
Isabel Medina-Gonzalez 2003. “‘Trans-Atlantic Pyramidology’, Orientalism, and Empire: Ancient Egypt and the 19th Century Archaeological Experience of Mesoamerica”, In D. Jeffreys (ed.) Views of Ancient Egypt since Napoleon Bonaparte: Imperialism, colonialism and modern appropriations. London: UCL Press
McKercher, M. E. and Fazzini, . Richard A.. "Egyptomania: Sphinxes, Obelisks, and Scarabs." Encyclopedia Britannica, April 16, 2010. https://www.britannica.com/topic/Egyptomania-Sphinxes-Obelisks-and-Scarabs-1688349.
Mike McKiernan, Edmund C. Thompson assisted by George T. Capstick, Speed – the Modern Mercury 1931, Occupational Medicine, Volume 65, Issue 6, August 2015, Pages 429–430
Riggs, Christina, 'Making Egyptian art and architecture', Ancient Egyptian Art and Architecture: A Very Short Introduction, Very Short Introductions (Oxford, 2014; online edn, Oxford Academic, 23 Oct. 2014)
Ronald H. Fritze. “OCCULT EGYPTOMANIA.” Chapter. Egyptomania: A History of Fascination, Obsession and Fantasy. 245-264 London: Reaktion Books, 2016. 444. ISBN 9781780236391
Tatomir, Renata-Gabriela. (2014). The presence of horse in ancient Egypt and the problem of veracity of the horseshoe magic in the ancient Egyptian folklore and mythology, pp. 321-340, in Dana Dinu, Madalina Strechie (Eds.), Hippika. Calul in istoria omului , 2014
Comments